The Practical Organist
March 2017
Playing Well with Others, Part I
Elementary school lies way long ago for most of us. Nevertheless, everyone attended school somewhere. What do you remember about those innocent days? What was your favorite part of school? “Recess!” is every self-respecting child’s answer. Unless, of course, the schoolyard bullies were after you. From time to time, they looked me over as a potential victim, since my dad was their gym teacher—and I was not athletic. Sometimes, life was hard. So, it was no small consolation to me when report cards were passed out where I got excellent citizenship grades, along with my (of course) top academic grades. Bullies never got “Plays well with others” on theirs. How could I have known how important this mark would become in my adult life? Musicians, it turns out, spend their entire lives “playing well with others.” Professionally.
As you well know, a church organist’s job is to accompany just about anybody who walks into the sanctuary. The congregation, the choir, the regular vocalist, as well as a variety of unpredictable soloists and ensembles, depend upon us to support their musical efforts When we spend so much time serving the needs of others, most of us just want a little more time to play on our own, right? Why would you ever seek out one more opportunity to collaborate? This question I hope to explore with you over the next four months.
When you are the accompanist, everyone expects you to adapt to their own unique musical interpretation. Whether they are right or wrong, we smile as we make them look good—regardless. It’s our secret, The Keyboardist’s Code. Often, we are the only keyboard player around. Are you ever a little lonely for a keyboard companion? I surely have been, and I am right now. When I have a duet partner, I have someone who shares the same challenges and rewards that digital dexterity delivers. I have someone who understands!
It’s terrific to find a pianist to share music making with. I have gained so much by inviting a fellow keyboard player into my busy life. Not only is she an antidote to loneliness, she gives me a chance to strengthen my skills and sharpen my mental focus. Working together builds my musicianship and encourages my musical empathy. She keeps me “playing well with others.” As a bonus, the music we play adds variety to the repertory I present in worship.
Your church might not include piano-organ duet literature as a part of its tradition. If not, I hope you will consider giving it a try. It might just be worth the risk. My congregation never listens more intently than when we play something together, and—horrors—they never applaud louder. (Applause is an act of worship here.) The easiest way to introduce duets is with familiar hymn tune arrangements. Here are some resources you might like to consider.
In the past few years, Lorenz Music has presented a wide array of duet literature at the moderately easy level. Just because they are moderately easy doesn’t mean they are poorly arranged. Truly, there is something for every occasion! Look at these for example:
• In God We Trust, arr. John Innes (70/1376S)
• A Handel Celebration, arr. Gilbert. Martin (70/1682S)
• The Lord’s Supper, arr. Gilbert Martin (70/1673L)
• Amazing Love, arr. Mary McDonald (70/1728L)
• Organ and Piano Duets for the Church Year, arr. Lani Smith (70/1531L)
• Christmas in the Air, arr. Lani Smith (70/1641L)
• Worship the King, arr. Gilbert Martin (70/1709L)
• Peace Like a River, arr. Lani Smith (70/1700L)
• Glorious Praise, arr. McDonald/Shackley (70/1681L)
Over the past few years, Joel Raney has become the grandfather of piano-organ duets. Hope Music has published an impressive number of his exciting individual hymn tune arrangements in his Worship Opener series. Each reaches a climax that includes optional handbells and choir. A new compilation of fifteen previously published hymns omits these extra resources to feature the two keyboard instruments alone. Here is his Festive Hymn Settings for Piano and Organ (Hope 8535). Every one of his arrangements is immediately appealing through his skillful use of dynamic rhythm and colorful harmonies. These are upper intermediate pieces that are as much fun to learn as they are to present in worship.
Charles Callahan is another gifted composer who has turned his attention to the piano-organ literature. His Spiritual-He’s Got the Whole World in His Hands (MorningStar Music 20-897) is unexpectedly reflective, while limiting itself to an intermediate skill. He arranged A Gospel Prelude (MSM 20-891) to include favorites “Softly and Tenderly,” “Blessed Assurance,” and “All the Way My Savior Leads Me.” Again, he has chosen to remain in a reflective mood throughout. His Amazing Grace (MSM 20-896) is similar in style and just as effective. Callahan takes a completely different approach in his Christmas Fantasy (MSM 20-894), where a swirl of familiar Christmas tunes flashes by in an exciting arrangement that will serve in worship or in concert.
A stalwart in my library is Praise and Worship: Four Exciting Medleys (Fred Bock Music). Four well-known evangelical composers (Bock, Bolks, Sanborn and Wyrtzen) have layered much loved traditional hymns among familiar praise choruses of the 80’s and 90’s. These six-to- seven minute arrangements are exciting, even if a few of the choruses are a little dated. I also return to David Schwoebel’s deeply moving It Is Well with My Soul (MSM 20-790). His dynamic build up, fading to a quiet close leaves listeners breathless. The opposite strategy is equally effective in Dan Miller’s Holy, Holy, Holy (MSL 20-893). It starts so quietly hardly anyone notices, but before you know it, these colorful variations have built to a dramatic climax.
Deborah Govenor and Howard Helvey have turned their talents to craft arrangements of six well known hymn tunes in Come, Thou Almighty King (Beckenhorst Press, OP2). These pieces, written in traditional styles will please more conservative congregations with “All Creatures of Our God and King,” “Be Thou My Vision,” “Immortal, Invisible” or “It Is Well With My Soul.”
Three more fine arrangements for you to consider are On Eagle’s Wings, arranged by Jeffrey Honore (Concordia 97-6429)) and Here I Am, Lord (CPH 97-6803). Here, Janet Linker has included optional violin and flute adding to a fine build up and return in her intermediate arrangement of this much-loved hymn. You might also enjoy Stan Pethel’s rhythmically dynamic arrangement, Fantasia on “Lobe Den Herren” ( H.W. Gray GOPD9501), with its driving repeated chord introduction setting up one of the church’s truly great hymns.
Whether you are a veteran duet player or just getting started, there is something for you to enjoy in this list. But wait! There is so much more to explore. Next month, let’s open the doors on another list of engaging works—classical transcriptions, freely composed works for worship, and concert-worthy pieces that will sharpen your skills and perk the ears of your audience. Meanwhile, be the best musician you can be and, just as your teachers used to say, “Play well with others!”